1 ART APPRECIATION MIDTERM LESSON REVIEWER

WHAT IS A LINE IN ART? stability. Create the impression of rising and suggest when one object is in front of the
A line in art is defined as a point moving in falling. other.
space, and it’s one of the seven elements of COMMON APPLICATION:
art (line, color, shape, form, texture, value,  The Leaning Tower of Pisa - conveys a  Texture in lines defines how smooth or
space). diagonal or slanted line. rough it is. Varying it can simply mean
It is one of the most crucial elements, as changing your working medium (for
everything begins with just a simple dot in 4.) Zigzag lines - are a series example, going from marker to charcoal or
space, that transforms into lines and then or combination of diagonal changing your digital brush).
drawings. Lines are everywhere! lines joined at ends. They can
5 TYPES OF LINES IN ART: convey action and excitement,  Style of lines refers to continuous, dotted,
MEANING AND EXAMPLES as well as restlessness and dashed, or implied lines. Continuous or
1.) Vertical lines - are straight up- anxiety. implied lines are great for leading the eye of
and-down lines that are moving in COMMON APPLICATION: the viewer in the direction you want them to
space without any slant and are  Thunders or animated drawings of stars go. Dashed or dotted lines are great for
perpendicular to horizontal lines. patterns, energy, and calling for attention.
They suggest height and strength 5.) Curved lines - are lines that
because they extend towards the bend and change direction If we combine all these variations into one, we
sky and seem unshakeable. gradually. They can be simply get a unique-looking line that serves a purpose.
COMMON APPLICATION: wavy or spiral. Such lines
 Upright trees convey feelings of comfort and LINE AND VALUE
 Standing bodies of humans. ease, as well as sensual quality as
Value is defined as the darkness or lightness of
 Building or Infrastructure they remind us of the human
an object. Artists use the technique called
body. Not appear linear and
crosshatching to create darker themes or value.
2.) Horizontal lines - are unclearly established.
This is a technique using crossed lines to create
straight lines parallel to the COMMON APPLICATION:
darker shades of a line.
horizon that move from left to  Clouds, leaves and edges of flowers.
right. They suggest width, TYPES OF
HOW TO GET VARIATIONS OF LINES IN
distance, calmness, and ART? 1.) Hatching is the technique of creating
stability.  Length in lines can be long (tall, strong, shadow with small, thin lines, oriented in a
COMMON APPLICATION: far) or short (small, cute, close). consistent direction.
 Body lying down and the horizon.
2.) Scumbling, also sometimes called “brillo
 Width in lines goes from thin (delicate, pad technique” is a bit less controlled and
3.) Diagonal lines - are slim, lightweight) to thick (strength, weight, more random and involves using your pen or
straight lines that slanted power). pencil to make lots of random, squiggly
in any direction except
marks to build up areas of shadow.
horizontal or vertical.  Weight in lines means the continuous 3.) Cross-hatching is hatching, but with lines
When in use, they suggest change of width. By varying the weight, one going in two directions. This is a technique
movement or lack of can capture energy, movement and even

Rainiela O. Glorioso
2 ART APPRECIATION MIDTERM LESSON REVIEWER
using crossed lines to create darker shades of They may be characterized by some In relation to shapes and forms, space allows
a line. combinations of curves and angles. them to exist in space. So, space is also assumed
4.) Blending/smudging is a technique of to be the empty canvass where work and art
They are not structural and man-made.
shading that focuses less on specific mark- can be accomplished (Ragans, 2005).
making, and more on concealing the Most of them are organically existing in nature
POSITIVE AND NEGATIVE SPACE
application of marks by either applying them such as flowers, animals, humans, islands, trees,
seamlessly or by rubbing in the media using etc. (Ragans, 2005). Positive space - shapes and forms of art
a finger or smudging tool. Negative space - empty spaces
In

FORMS
GESTALT PSYCHOLOGY, they are called
Forms are the three-dimensional aspects of figure and ground, respectively. The distinction
GEOMETRIC & FREEFORM SHAPES spaces and shapes. While shapes have length between figure and ground is essential as they
and width or diameter, a characterizing may dictate certain interpretations of art.
SHAPES can either be GEOMETRIC OR FREE
component of form is its depth.
FORM. In GESTALT PSYCHOLOGY, they may
a.) Geometric shapes - are accurately For example, a box or a cube is a form. become visual and optical illusions that puzzle
measured shapes, hence, having mathematical However, there is an inherent relationship the viewer’s interpretation of an artwork
bases. between shapes and forms. So, if you are (Ragans, 2005).
presented with a box, each side of the box is
The variations are square, rectangle, triangle, ILLUSION OF FORM BY USING THE
represented by a square or rectangular shape. Or
circle, oval, trapezoid, and pentagon, used to PRINCIPLE OF VALUE
when you visit the Pyramids in Egypt, you will
express feelings of uniformity and organization. While the meaning of lines can change by
still be identify the shapes of triangles along its
changing their value, shapes, and forms can also
In a decorative sense, they show balance and sides (Ragans, 2005).
change their meaning and expression by utilizing
structure in one's perception. This may be SPACE
altered values.
apparent in the shapes of flat television, long and Space - it involves the outer and inner spaces
round tables, room doors, etc. Usually, these are For example, to magnify an object, certain
of an artwork. This refers to a hypothetical area
man- made shapes (Ragans, 2005). techniques can be used such as employing light
in which the subject of art and other elements of
and dark values. This technique is called
art operate. Like shapes and forms, the
CHIAROSCURO. It is an Italian word that
impression of space can be two- or three-
b.) Freeform shapes - are the types of shapes means bright (chiaro) and dark (oscuro).
dimensional.
that are irregular in structure. Introduced during the renaissance period, this
technique magnifies and identifies shapes and
Rainiela O. Glorioso
3 ART APPRECIATION MIDTERM LESSON REVIEWER
forms clearly as the highlighted figure or 5.) Value - describes the lightness and darkness b. Analogous Colors
positive space of the art piece by shading the of a color. There will be times that certain colors - in analogous colored artwork, the hues used are
negative space darker (Ragans, 2005). will seem to be darker to represent a darker or usually those that are side by side in the color
gloomier theme of the art piece. wheel and operate in a common hue.
ILLUSION OF DEPTH USING GESTALT
Examples are blue, blue-green, blue-violet, and
PRINCIPLES OF PERCEPTION  Yellow - seems to reflect the lightest. red have something in common. This can be
 Violet - is the darker hue as it reflects the limited to three hues to create unity among the
Depth can be defined as relative distance. With
least light.
several objects defining the artwork, it may be
necessary to give it some depth to visualize the  Black, White, and Gray - are considered
story behind it. neutral colors.
 White light - reflects colors while black
From the Gestalt principles of perception, there absorbs all of it.
are techniques that can be used to create the  Grey - will reflect light depending on its
impression of depth. value.
6 ILLUSIONS OF DEPTH
6.) Intensity - refers to how bright or dull the common color range.
1.) Overlapping - the first object covers a use of hue is. If a certain surface of an object
second object. In effect, the first object becomes reflects yellow light, then the surface projects
closer or nearer to the viewer. intense and bright yellow. But if the surface
reflects other colors, yellow will be more
2.) Size - large objects often are perceived to be subdued. Intensity can be high or low density
nearer than the relatively smaller ones. such that in bright and dull colors, respectively
3.) Placement- objects placed on the lower (Ragans, 2005).
plane of the space create the impression of them COLOR SCHEMES
being nearer. The more distant are those at the c. Complementary colors
eye or top level of the space. a. Monochromatic Colors - are used when the theme of art is intended to
- a technique where only one color is used. create strong expression of contrast. In theory,
4.) Hue - in the color spectrum, there is such a Even the hue, tints and shade are consistent all complementary colors tend to establish a
thing as primary colors namely, red, blue and throughout. With a limited option for colors, this vibration with each other. These vibrations can
yellow. They are also considered as primary provides a strong and unifying expression to translate into arousal of emotions. Example is
hues. The secondary hues are made by mixing the art. However, this strategy may lessen the that red and green are complementary colors.
two primary colors. There are also six variation quality of the work. When red symbolizes fire and green symbolizes
intermediate or tertiary colors by mixing a
the life attached to plants and animals, these
primary color with secondary color.
patterns create a sense of arousal to your arousal,
To organize these colors or hues, the color emotions.
spectrum can be bent to create a color wheel that
illustrates how the mixing is employed (Ragans,
d. Color Triads
2005)

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4 ART APPRECIATION MIDTERM LESSON REVIEWER
- art must be focused on three general colors and intervals of space between them. In effect, “The Persistence of Memory” by Salvador Dali
spaced on equal intervals on the color wheel. you can observe a steady beat across motifs.
3. CONSTRUCTIVISM - This is an artistic and
Compared to complementing triads do not c. Alternating
architectural philosophy that Rodchenko.
convey strong differentiation of colors. This This type of rhythm employs two types of beats
Abstract and austere, constructivist art aimed to
can cover primary, secondary and tertiary hue or motives. The first and second beats are
reflect originated in Russia beginning in 1915 by
triads. usually arranged in alternating distances or
Vladimir Tatlin and Alexander modern
intervals. Its applications include flowing
industrial society and urban space.
e. Split Complements rhythms by repeating wavy lines.
- a split complement is used when you combine d. Progressive “Letatlin” by Vladimir Tatlin
a hue with each side of its exact complement. Progressive patterns or rhythms portray a change
This now offers more variety and more in beat every time it is repeated. Accordingly, 4. ABSTRACT EXPRESSIONISM - This is
dynamics to color range and selection. For the changes are steady. For each beat, they
example, the complement of red orange is blue appear slightly different with each other.
green.
TYPES OF ABSTRACT ARTS
f. Warm and Cool Colors 1. DADAISM - It is an art movement formed
during the First World War in Zurich in a the term applied to new forms of abstract art
COLOR WHEEL 2 GROUPS
negative reaction to the horrors and folly of the
WARM - red, orange, and yellow, war. The art, poetry and performance produced
by dada artists is often satirical and nonsensical
COOL - blue, green, and violet in nature.

developed by American painters such as Jackson

Pollock, Mark Rothko and Willem de Kooning
in the 1940s and 1950s. It is often characterized
by gestural brushstrokes or mark-making and the
“Glass” Tears by Man Ray impression of spontaneity.
2. SURREALISM - This uses principles, ideals "Mural" by Jackson Pollock
TYPES OF RHYTHM AND PATTERN or practice of producing fantastic or incongruous
imagery or effects in art, literature, film or 5. OPTICAL ART - This work is abstract with
a. Random theater by means of unnatural or irrational many better-known pieces created in black and
Motifs may be placed randomly across the juxtapositions and combinations. white. Typically, it gives the viewer the
space. This is characterized by the lack of impression of movement, hidden images,
regularity in the spaces in between. flashing and vibrating patterns or of swelling or
b. Regular warping.
Opposite to random are patterns, regular patterns
characterized by having identical beats, motifs,

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5 ART APPRECIATION MIDTERM LESSON REVIEWER
"I like America and America Likes Me" by 2. Land/Earth Installation
Joseph Beuys
9. PHOTOREALISM - It is a genre of art that
Kumo XV" by Omar Rayo
encompasses painting, drawing and other
6. POP ART - It is based on modern popular graphic media in which an artist studies a
culture and the mass media especially as a photograph and then attempts to reproduce the
critical or ironic comment on traditional fine art image as realistically as possible in another The White walkers in Bosnia
values. medium (Wallace, 2015).

3. Performance Installation

“In the Car" by Roy Lichtenstein

"Roll-A-Top" by Charles Bell
7. MINIMALISM - It describes movements in
"Handles" by Haegue Yang
various forms of art and design, especially visual INSTALLATION ARTS
art and music, where the work is set out to
expose the essence, essentials or identity of a - can see some pieces of materials put
subject through eliminating all non- essential together or installed in a dramatic way THE DIFFERENT PLANES OF ART
forms, features or concepts. occupying spaces to come up with an artistic
The different planes of art can be best
portrayal.
exemplified by analyzing bahay-kubo as a
- This art form is called INSTALLATION. It
typical architectural design in the Philippines
is an artistic genre of three-dimensional
using the four identified planes: semiotic, iconic,
works that are often site-specific and
contextual and axiological.
designed to transform the perception of a
space.

"Nine-Sided Figure" by Sol TYPES OF INSTALLATION ARTS A. The Semiotic Plane

8. CONCEPTUAL ART - It is an art in which 1. Body Installation It is the study of "signs" whether iconic or
the concept or idea involved in the work takes pictorial sign. It consists of a "signifier" or its
precedence over traditional aesthetic, technical, material/physical aspect and its "signified" or
and material concerns. Tokujin Yoshiuka in non-material aspect as concept and value. The
Tokyo Exhibition semiosis of the bahay-kubo represents the image
of a typical house of farmers in a rural area. It
aims to answer the following:

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6 ART APPRECIATION MIDTERM LESSON REVIEWER
A. Is it two-dimensional or three-dimensional C. What societal state is portrayed in the artwork
picture? that gives subliminal message on the minds of
B. What do the symbols used represent? the viewers?
C. Why are such symbols used? D. How does the artwork invite the viewers to
D. How are the symbols related to each other do some actions?
and created oneness?
D. The Axiological Plane
B. The Iconic Plane
This has something to do with analyzing the
It basically includes the choice of the subject
values of a work and its entire being and
which may bear social and political implications.
connection with the viewers. The structure of
The bahay-kubo implies the farmers' humble
bahay-kubo is designed texture, shape matches
economic status with limited income. It aims to
the environment's available resources.
answer the following questions:
The use of dried to meet the tropical weather
A. What is the main topic of the artwork?
conditions of the Philippines. Its aesthetics like
B. What is the artwork all about?
color, vines to provide strength of the post and
C. What issue and trend are depicted by the
beams of the structure matches the natural cogon
artwork?
grass and vines reflect the brown color of the
D. How does the artwork create impact on the
land.
minds of the viewers?
The patterns of braiding movement and direction
of the vines' natural setting. The roof's pyramidal
C. The Contextual Plane
buttress of the hut fits the slopes and terrains of
The viewer draws out the dialogic relationship the mountain.
of art and society. Art sources its energy and
The elevated floors tiled with bamboo strips
vitality from its social context and returns to it as
provide access of air to ventilate inside the
a cognitive force and catalyst for change. The
structure during hot and humid weather
context of the bahay-kubo represents the artist'
conditions. Axiological Plane aims to answer the
inexperience as a son or a daughter of a farmer.
following questions:
Contextual plane also represents the context of
powerlessness, simplicity and resilience. It aims A. Do the elements of colors, shapes, space,
to answer the following questions: texture, etc. of the artwork
complement harmoniously?
A. What message does the artwork give to the
B. Is the artwork free from biases and prejudices
viewers?
among gender, religion, and any sector?
B. What emotions does the artwork draw out
C. Is the artwork influential to the viewers? In
from the viewers?
what sense?
D. What are the emotional and the mental states
or cultural and social background of the artist?
Rainiela O. Glorioso